The Tempest the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival

Total Page:16

File Type:pdf, Size:1020Kb

The Tempest the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival Insights A Study Guide to the Utah Shakespeare Festival The Tempest The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to bean educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ulti- mately produced on the Festival’s stages. The Study Guide is published annually by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, publications manager and editor; Clare Campbell, graphic artist. Copyright © 2018, Utah Shakespeare Festival. Please feel free to download and print The Study Guide, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: John Pribyl as Prospero in The Tempest, 2007. The Tempest Contents Information on William Shakespeare Shakespeare: Words, Words, Words 4 Not of an Age, but for All Mankind 6 Elizabeth’s England 8 History Is Written by the Victors 10 Mr. Shakespeare, I Presume 11 A Nest of Singing Birds 12 Actors in Shakespeare’s Day 14 Audience: A Very Motley Crowd 16 Shakespeare Snapshots 18 Ghosts, Witches, and Shakespeare 20 What They Wore 22 Information on the Play About the Play 23 Synopsis 24 Characters 25 Scholarly Articles on the Play Suiting the Fashion 26 Physical and Emotional Storms 27 A Microcosm of Behavior and Emotion 29 Prospero’s Many Roles 31 But This Rough Magic I Here Abjure 33 The Outer Show and the Inner Truth 35 The Wizard in The Tempest 37 Classroom Materials Famous Words and Phrases 40 Text in Shakespeare 42 Themes and Motifs 43 The Tempest in Modern Terms 44 The Tempest on Film 45 Elementary School Discussion Questions 46 Middle and High School Discussion Questions 46 Study Questions 47 Activities 48 Lesson Plans 50 Additional Resources 51 Digital Resources 52 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Shakespeare: Words, Words, Words By S. S. Moorty “No household in the English-speaking world is properly furnished unless it contains copies of the Holy Bible and of The Works of William Shakespeare. It is not always thought that these books should be read in maturer years, but they must be present as symbols of Religion and Culture” (G.B. Harrison, Introducing Shakespeare. Rev. & Exp. [New York: Penguin Books, 1991], 11). We, the Shakespeare-theater goers and lovers, devotedly and ritualistically watch and read the Bard’s plays not for exciting stories and complex plots. Rather, Shakespeare’s language is a vital source of our supreme pleasure in his plays. Contrary to ill-conceived notions, Shakespeare’s language is not an obstacle to appreciation, though it may prove to be difficult to understand Instead, it is the communicative and evocative power of Shakespeare’s language that is astonish- ingly rich in vocabulary—about 29,000 words— strikingly presented through unforgettable characters such as Hamlet, Macbeth, Lear, Othello, Rosalind, Viola, Iago, Shylock, etc. In the high school classroom, students perceive Shakespeare’s language as “Old English.” Actually Shakespeare’s linguistic environment, experience, and exposure was, believe it or not, closer to our own times than to Chaucer’s, two hundred years earlier. Indeed, the history and development of the English language unfolds as follows: Old English, 449-1100; Middle English 1100-1500; and Modern English 1500-present. Shakespeare was firmly in the Modern English period. At the time Shakespeare wrote, most of the grammatical changes from Old and Middle English had taken place; yet rigid notions about “correctness” had not yet been standardized in gram- mars. The past five centuries have advanced the cause of standardized positions for words; yet the flexible idiom of Elizabethan English offered abundant opportunities for Shakespeare’s linguistic inventiveness. Ideally it is rewarding to study several facets of Shakespeare’s English: pronuncia- tion, grammar, vocabulary, wordplay, and imagery. The present overview will, however, be restricted to “vocabulary.” To Polonius’s inquisitive question “What do you read, my lord?” (Hamlet, 2.2.191) Hamlet nonchalantly and intriguingly aptly replies: “Words, words, words” (2.2.192). This many-splen- dored creation of Shakespeare’s epitomizes the playwright’s own fascination with the dynamic aspect of English language, however troubling it may be to modern audiences and readers. Shakespeare added several thousand words to the language, apart from imparting new meanings to known words. At times Shakespeare could teasingly employ the same word for different shades of thought. Barowne’s single line, “Light, seeking light, doth light of light beguile” (Love’s Labour’s Lost, 1.1.77), as Harry Levin in his General Introduction to The Riverside Shakespeare (9) explains, “uses ‘light’ in four significations: intellect, seeking wisdom, cheats eyesight out of daylight.” Another instance: Othello as he enters his bedroom with a light before he smothers his dear, innocent Desdemona soliloquizes: “Put out the light, and then put out the light” (Othello, 5.2.7) Here ‘light’ compares the light of Othello’s lamp or torch to Desdemona’s ‘light’ of life. In both instances, the repeated simple ordinary word carries extraordinary shades of mean- ing. “Usually such a tendency in a Shakespeare play indicates a more or less conscious the- matic intent.” (Paul A. Jorgensen, Redeeming Shakespeare’s Words [Berkeley and Los Angeles; University of California Press, 1962], 100). Living in an age of the “grandiose humanistic confidence in the power of the word” (Levin 9), 4 Utah Shakespeare Festival 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Shakespeare evidently felt exuberant that he had the license to experiment with the language, further blessed by the fact that “there were no English grammars to lay down rules or dictionar- ies to restrict word-formation. This was an immeasurable boon for writers” (Levin 10). Surely Shakespeare took full advantage of the unparalleled linguistic freedom to invent, to experiment with, and to indulge in lavishly. However intriguing, captivating, mind-teasing, beguiling, and euphonious, Shakespeare’s vocabulary can be a stumbling block, especially for readers. “In the theater the speaking actor frequently relies on tone, semantic drive, narrative context, and body language to com- municate the sense of utterly unfamiliar terms and phrases, but on the page such words become more noticeable and confusing” (Russ McDonald, The Bedford Companion to Shakespeare: An Introduction with Documents [Boston: Bedford Books of St. Martin’s Press, 1996], 184). Unlocking the meaning of Shakespeare’s vocabulary can prove to be an interesting challenge. Such words include those which “have dropped from common use like ‘bisson’ (blind) or those that the playwright seems to have created from Latin roots . but that did not catch on, such as conspectuities’ (eyesight or vision) or ‘unplausive’ (doubtful or disap- proving). Especially confusing are those words that have shifted meaning over the interven- ing centuries, such as ‘proper’ (handsome), ‘nice’ (squeamish or delicate), ‘silly’ (innocent), or ‘cousin’ (kinsman, that is, not necessarily the child of an aunt or uncle” (McDonald 184). Because of semantic change, when Shakespeare uses ‘conceit,’ he does not mean ‘vanity,’ as we might understand it to be. Strictly following etymology, Shakespeare means a ‘conception’ or ‘notion,’ or possibly the ‘imagination’ itself. Perhaps several Shakespeare words “would have been strange to Shakespeare’s audience because they were the products of his invention or unique usage. Some words that probably originated with him include: ‘auspicious,’ ‘assassination,’ ‘disgraceful,’ ‘dwindle,’ ‘savagery.’” Certainly a brave soul, he was “ a most audacious inventor of words.” To appreciate and under- stand Shakespeare’s English in contrast to ours, we ought to suspend our judgment and disbelief and allow respect for the “process of semantic change, which has been continually eroding or encrusting his original meaning” (Levin 8). Shakespeare’s vocabulary has received greater attention that any other aspect of his language. Perhaps this is because it is the most accessible with no burdensome complications. Whatever the cause, Shakespeare’s language will forever be challenging and captivating. Utah Shakespeare Festival 5 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Not of an Age, but for All Mankind By Douglas A. Burger After an enormous expenditure of money and effort, Shakespeare’s Globe Theater has risen again, four centuries later, on London’s south bank of the Thames. Designed as a faithful recon- struction of the original, it uses the building methods of the time and traditional materials (oak timbers, plaster walls, wooden pegs, water-reeds for thatching the roof). From above, the shape seems circular (actually, it is twenty-six sided) with three cov- ered tiers of seats surrounding a central area which is open to the sky.. There the “groundlings” may stand to see the action taking place on the stage, which occupies almost half of the inner space. There are no artificial lights, no conventional sets, no fancy rigging. Seeing a Shakespeare play in the afternoon sunlight at the new Globe must come very close to the experience of those early-day Londoners, except, of course, that we in the twentieth- century behave better. We don’t yell insults at the actors, spit, or toss orange peels on the ground. We also smell better: the seventeenth-century playwright, Thomas Dekker, calls the original audience “Stinkards . glewed together in crowdes with the Steames of strong breath” (Shakespeare’s Globe: The Guide Book [London: International Globe Center, 1996], 42).
Recommended publications
  • April 2020 • Issue 2 PROSPERO
    The newspaper for retired BBC Pension Scheme members • April 2020 • Issue 2 PROSPERO REMEMBERING A GOLDEN AGE OF FILM PAGE 8 PENSION SCHEME | BBC PENSIONS PAUL BOHAN AT 100: ‘A REMARKABLE MAN’ Former BBC broadcast engineer Paul Bohan recently celebrated his 100th birthday, and BBC Volunteer Visitor Arthur Masson caught up with him to talk about the interesting times – and places – he’s seen in his long life. aul was born in Bishop Auckland, County He arrived at Stoney Cross and joined a unit servicing Durham, on 24 November 1919. aircraft, for approximately a year. He was then transferred to RAF Marham, and then to RAF PHe was educated at a council school in Byers Mildenhall. Eventually, with his service completed, Green village, where he obtained the first of many he was released in March 1947. (It is perhaps worth ‘accomplishments’, his 11-plus certificate! He was then posted to Meldrum and completed noting that, as he had passed the Commission 12 years as a TV engineer. He left school at 16 and joined the RAF, completing an examinations, if he had remained in service he would 18-month course at Cranwell as a wireless operator, then, have been a Commissioned Officer.) He was offered early retirement, which he accepted after successfully qualifying, went to RAF Thornaby. at the ‘ripe old age’ of 58 and joined Aberdeen After leaving the RAF he joined BOAC, which was the University Language Laboratory as their recording After one year, he went back to Cranwell for another state airline, and was posted to Sudan (Wadi-Halfa).
    [Show full text]
  • The Individual Inventor Motif in the Age of the Patent Troll
    Cotropia: THE INDIVIDUAL INVENTOR MOTIF THE INDIVIDUAL INVENTOR MOTIF IN THE AGE OF THE PATENT TROLL Christopher A. Cotropia* 12 YALE J.L. & TECH. 52 (2009) ABSTRACT The individual inventor motif has been part of American patent law since its inception. The question is whether the recent patent troll hunt has damaged the individual inventor's image and, in turn, caused Congress, the United States Patent and Trademark Office (USPTO), and the courts to become less concerned with patent law's impact on the small inventor. This Article explores whether there has been a change in attitude by looking at various sources from legislative, administrative, and judicial actors in the patent system, such as congressional statements and testimony in discussions of the recent proposed patent reform legislation, the USPTO's two recently proposedsets ofpatent rules and responses to comments on those rules, and recent Supreme Court patent decisions. These sources indicate that the rhetoric of the motif has remained unchanged, but its substantive impact is essentially nil. The motif has done little to stave off the increasingly anti- individual-inventor changes in substantive patent law. This investigation also provides a broader insight into the various governmental institutions' roles in patent law by illustrating how different institutions have responded-or not responded-to the use of the individual inventor motif in legal andpolicy arguments. * Professor of Law, Intellectual Property Institute, University of Richmond Law School. Thanks to Kevin Collins, Jim Gibson, Jack Preis, Arti Rai, Josh Sarnoff, and the participants at the Patents and Entrepreneurship in Business and Information Technologies symposium hosted at George Washington University Law School for their comments and suggestions on an earlier draft.
    [Show full text]
  • “Savage and Deformed”: Stigma As Drama in the Tempest Jeffrey R
    “Savage and Deformed”: Stigma as Drama in The Tempest Jeffrey R. Wilson The dramatis personae of The Tempest casts Caliban as “asavageand deformed slave.”1 Since the mid-twentieth century, critics have scrutinized Caliban’s status as a “slave,” developing a riveting post-colonial reading of the play, but I want to address the pairing of “savage and deformed.”2 If not Shakespeare’s own mixture of moral and corporeal abominations, “savage and deformed” is the first editorial comment on Caliban, the “and” here Stigmatized as such, Caliban’s body never comes to us .”ס“ working as an uninterpreted. It is always already laden with meaning. But what, if we try to strip away meaning from fact, does Caliban actually look like? The ambiguous and therefore amorphous nature of Caliban’s deformity has been a perennial problem in both dramaturgical and critical studies of The Tempest at least since George Steevens’s edition of the play (1793), acutely since Alden and Virginia Vaughan’s Shakespeare’s Caliban: A Cultural His- tory (1993), and enduringly in recent readings by Paul Franssen, Julia Lup- ton, and Mark Burnett.3 Of all the “deformed” images that actors, artists, and critics have assigned to Caliban, four stand out as the most popular: the devil, the monster, the humanoid, and the racial other. First, thanks to Prospero’s yarn of a “demi-devil” (5.1.272) or a “born devil” (4.1.188) that was “got by the devil himself” (1.2.319), early critics like John Dryden and Joseph War- ton envisioned a demonic Caliban.4 In a second set of images, the reverbera- tions of “monster” in The Tempest have led writers and artists to envision Caliban as one of three prodigies: an earth creature, a fish-like thing, or an animal-headed man.
    [Show full text]
  • "Fictionalism: Morality and Metaphor"
    - 1 - Fictionalism: Morality and metaphor Richard Joyce Penultimate draft of paper appearing in F. Kroon & B. Armour-Garb (eds.), Philosophical Fictionalism (Oxford University Press, forthcoming). 1. Introduction Language and reflection often pull against each other. Ordinary ways of talking appear to commit speakers to ontologies that may, upon reflection, be deemed problematic for a variety of empirical, metaphysical, and/or epistemological reasons. The use of moral discourse, for example, appears to commit speakers to the existence of obligation, evil, desert, praiseworthiness (and so on), while metaethical reflection raises a host of doubts about how such properties could exist in the world and how we could have access to them if they did. One extreme solution to the tension is to give up reflection—to become like those “honest gentlemen” of England, as Hume described them, who “being always employ’d in domestic affairs, or amusing themselves in common recreations, have carried their thoughts very little beyond those objects” (Treatise 1.4.7.14). Hume sounds a touch envious of the unreflective idyll, but the very fact that he is penning a treatise on human nature shows that this is not a solution available to him; and, likewise, the very fact that you are reading this chapter shows that it’s unlikely to be a solution for you. Another extreme solution to the tension is to give up language—not in toto, of course, but selectively: to stop using those elements of discourse that are deemed to have unacceptable commitments. How radical this eliminativism is will depend on the nature of the problem.
    [Show full text]
  • The Low-Status Character in Shakespeare's Comedies Linda St
    Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-1-1973 The Low-Status Character in Shakespeare's Comedies Linda St. Clair Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation St. Clair, Linda, "The Low-Status Character in Shakespeare's Comedies" (1973). Masters Theses & Specialist Projects. Paper 1028. http://digitalcommons.wku.edu/theses/1028 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ARCHIVES THE LOW-STATUS CHARACTER IN SHAKESPEAREf S CCiiEDIES A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bov/ling Green, Kentucky In Partial Fulfillment of the Requirements for the Degree Master of Arts Linda Abbott St. Clair May, 1973 THE LOW-STATUS CHARACTER IN SHAKESPEARE'S COMEDIES APPROVED >///!}<•/ -J?/ /f?3\ (Date) a D TfV OfThesis / A, ^ of the Grafduate School ACKNOWLEDGEMENTS With gratitude I express my appreciation to Dr. Addie Milliard who gave so generously of her time and knowledge to aid me in this study. My thanks also go to Dr. Nancy Davis and Dr. v.'ill Fridy, both of whom painstakingly read my first draft, offering invaluable suggestions for improvement. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS iii INTRODUCTION 1 THE EARLY COMEDIES 8 THE MIDDLE COMEDIES 35 THE LATER COMEDIES 8? CONCLUSION 106 BIBLIOGRAPHY Ill iv INTRODUCTION Just as the audience which viewed Shakespeare's plays was a diverse group made of all social classes, so are the characters which Shakespeare created.
    [Show full text]
  • Complete Catalog of the Motivic Material In
    Complete Catalog of the Motivic Material in Star Wars Leitmotif Criteria 1) Distinctiveness: Musical idea has a clear and unique melody, without being wholly derived from, subsidiary section within, or attached to, another motif. 2) Recurrence: Musical idea is intentionally repeated in more than three discrete cues (including cut or replaced cues). 3) Variation: Musical idea’s repetitions are not exact. 4) Intentionality: Musical idea’s repetitions are compositionally intentional, and do not require undue analytical detective work to notice. Principal Leitmotif Criteria (Indicated in boldface) 5) Abundance: Musical idea occurs in more than one film, and with more than ten iterations overall. 6) Meaningfulness: Musical idea attaches to an important subject or symbol, and accrues additional meaning through repetition in different contexts. 7) Development: Musical idea is not only varied, but subjected to compositionally significant development and transformation across its iterations. Incidental Motifs: Not all themes are created equal. Materials that are repeated across distinct cues but that do not meet criteria for proper leitmotifs are included within a category of Incidental Motifs. Most require additional explanation, which is provided in third column of table. Leit-harmonies, leit-timbres, and themes for self-contained/non-repeating set-pieces are not included in this category, no matter how memorable or iconic. Naming and Listing Conventions Motifs are listed in order of first clear statement in chronologically oldest film, according to latest release [Amazon.com streaming versions used]. For anthology films, abbreviations are used, R for Rogue One and S for Solo. Appearances in cut cues indicated by parentheses. Hyperlinks lead to recordings of clear or characteristic usages of a given theme.
    [Show full text]
  • Moral Rhetoric in Twitter: a Case Study of the U.S
    Moral Rhetoric in Twitter: A Case Study of the U.S. Federal Shutdown of 2013 Eyal Sagi ([email protected]) Kellogg School of Management, Northwestern University Evanston, IL 60208 USA Morteza Dehghani ([email protected]) Brain Creativity Institute, University of Southern California Los Angeles, CA 90089 USA Abstract rhetoric is prevalent in political debates (e.g., Marietta, 2009). In this paper we apply a computational text analysis technique used for measuring moral rhetoric in text to analyze the moral Our investigation contributes to the general study of loadings of tweets. We focus our analysis on tweets regarding moral cognition by providing an alternative method for the 2013 federal government shutdown; a topic that was at the measuring moral concerns in a more naturalistic setting forefront of U.S. politics in late 2013. Our results demonstrate compared to self-report survey method and artificial that the positions of the members of the two major political paradigms used in traditional judgment and decision-making parties are mirrored by the positions taken by the Twitter experiments. communities that are aligned with them. We also analyze retweeting behavior by examining the differences in the moral Following Sagi and Dehghani (2013), we define moral loadings of intra-community and inter-community retweets. rhetoric as “the language used for advocating or taking a We find that retweets in our corpus favor rhetoric that moral stance towards an issue by invoking or making salient enhances the cohesion of the community, and emphasize various moral concerns”. Our analysis of moral rhetoric is content over moral rhetoric. We argue that the method grounded in Moral Foundations Theory (Graham et al., proposed in this paper contributes to the general study of 2013; Haidt & Joseph, 2004), which distinguishes between moral cognition and social behavior.
    [Show full text]
  • The Moral Basis of Family Relationships in the Plays of Shakespeare and His Contemporaries: a Study in Renaissance Ideas
    The Moral Basis of Family Relationships in the plays of Shakespeare and his Contemporaries: a Study in Renaissance Ideas. A submission for the degree of doctor of philosophy by Stephen David Collins. The Department of History of The University of York. June, 2016. ABSTRACT. Families transact their relationships in a number of ways. Alongside and in tension with the emotional and practical dealings of family life are factors of an essentially moral nature such as loyalty, gratitude, obedience, and altruism. Morality depends on ideas about how one should behave, so that, for example, deciding whether or not to save a brother's life by going to bed with his judge involves an ethical accountancy drawing on ideas of right and wrong. It is such ideas that are the focus of this study. It seeks to recover some of ethical assumptions which were in circulation in early modern England and which inform the plays of the period. A number of plays which dramatise family relationships are analysed from the imagined perspectives of original audiences whose intellectual and moral worlds are explored through specific dramatic situations. Plays are discussed as far as possible in terms of their language and plots, rather than of character, and the study is eclectic in its use of sources, though drawing largely on the extensive didactic and polemical writing on the family surviving from the period. Three aspects of family relationships are discussed: first, the shifting one between parents and children, second, that between siblings, and, third, one version of marriage, that of the remarriage of the bereaved.
    [Show full text]
  • Program Overview Screenwriting Research Network
    Program Overview Screenwriting Research Network 7. International Conference 17—19 October 2014 Screenwriting and Directing Audiovisual Media Keynotes by Milcho Manchevski, Jutta Brückner & Brian Winston Film University Babelsberg KONRAD WOLF, Potsdam, Germany FILMUNIVERSITÄT BABELSBERG KONRAD WOLF Conference website: www.filmuniversitaet.de/de/forschung/tagungen-symposien/tagungen/tma/detail/6706.html Thursday, 16 October 3 —5 pm Sightseeing: Potsdam Park Sanssouci www.potsdam-park-sanssouci.de/sitemap-eng.html We organized a guided tour of Sanssouci (castle and park) Thursday afternoon, October 16th, 3-5 pm. The tour is in English language with access for a group of max. 40 entrants. The fee must be shared: depending on the number of participants it could be 9,50 Euro each (40p.) up to 19 Euro (20p.) Please sign in: http://doodle.com/qyyrf69hu7yis9m8 6—9 pm Opening Reception & Get Together @ Wissenschaftsetage Potsdam (rsvp) Bildungsforum Potsdam, Am Kanal 47, 14467 Potsdam (4th floor) > www.wis-potsdam.de/en Friday, 17 October 9 am Registration (entrance hall, first floor) 10 am Welcome by PROFESSOR DR. SUSANNE STÜRMER, PRESIDENT OF FILM UNIVERSITY BABELSBERG KONRAD WOLF, PROFESSOR DR. KERSTIN STUTTERHEIM, CONFERENCE HOST AND KIRSI RINNE, CHAIR SRN 10:30 am Keynote by MILCHO MANCHEVSKI: WHY I LIKE WRITING AND HATE DIRECTING: NOTES OF A RECOVERING WRITER-DIRECTOR (Writer/Director, Scholar, Macedonia/USA) 11:30 am Coffee Break 11:45 am—1:15 pm Panel 1: WRITER–DIRECTOR’S SCREENPLAYS Ian W. Macdonald (University of Leeds, UK) SCREENWRITING AND SUBJECTIVITY Carmen Sofia Brenes (University of Los Andes, Chile) THE POETIC DENSITY OF THE STORY AS KEY ISSUE IN THE FILM NEGOTIATION BETWEEN WRITER, DIRECTOR AND PRODUCER Temenuga Trifonova (York University, Canada) THE WRITER’S SCREENPLAY AND THE WRITER/DIRECTOR’S SCREENPLAY: A COMPARATIVE ANALYSIS Jarmo Lampela (Aalto University Helsinki, Finland) ENSEMBLE AS A SCRENWRITER – THEATRE GOES MOVIES Panel 2: AUTEUR–FILM Gabriel M.
    [Show full text]
  • An Analysis of Shakespeare' S Recycling of Characters To
    Articulāte Volume 10 Article 3 2017 Running Out of Sources (An analysis of Shakespeare' s recycling of characters to consciously or unconciously create a highly evolved final character in Prospero) Shikha Shah Denison University Follow this and additional works at: http://digitalcommons.denison.edu/articulate Part of the English Language and Literature Commons Recommended Citation Shah, Shikha (2017) "Running Out of Sources (An analysis of Shakespeare' s recycling of characters to consciously or unconciously create a highly evolved final character in Prospero)," Articulāte: Vol. 10 , Article 3. Available at: http://digitalcommons.denison.edu/articulate/vol10/iss1/3 This Article is brought to you for free and open access by Denison Digital Commons. It has been accepted for inclusion in Articulāte by an authorized editor of Denison Digital Commons. 14 15 Running Out of Sources (An analysis of Shakespeare' s recycling of characters to consciously or unconciously create a highly evolved final character achieving the golden mean of active and contemplative, similarities that are seen between the two, which furthers active in his control of his actions, yet contemplative in care- the possibility that Prospero, in part, is an advanced King in Prospero) fully planning them and trying to predetermine their conse- Lear, in whom we see that Lear's faults of resignation, shun- quences. ning of duty, and fatherhood are resolved. Shikha Shah '07 The possibility of Prospero, being in part an active Another Shakespearean character who pays a price and developed version of King Lear is further seen in the for neglecting his kingdom, and then handing over its run- parallel scenes of the storms.
    [Show full text]
  • A Thematic Approach to Emerging Narrative Structure Charlie Hargood David E
    A Thematic Approach to Emerging Narrative Structure Charlie Hargood David E. Millard Mark J. Weal Learning Societies Lab Learning Societies Lab Learning Societies Lab School of Electronics and School of Electronics and School of Electronics and Computer Science Computer Science Computer Science University of Southampton University of Southampton University of Southampton +44 (0)23 8059 7208 +44 (0)23 8059 5567 +44 (0)23 8059 9400 [email protected] [email protected] [email protected] ABSTRACT information representation that are well established as an In this paper we look at the possibility of using a thematic model engaging way of representing an experience. Narrative generation of narrative to find emergent structure in tagged collections. We is a field that seeks to explore alternative representations of propose that a thematic underpinning could provide the narrative narrative, and investigate the possibility of automatically direction which can often be a problem with stories from existing generating custom stories from information collections. There are narrative generation methods, and present a thematic model of a wide variety of different techniques for narrative generation narrative built of narrative atoms and their features, motifs and ranging from structured narrative grammars to emergent themes. We explore the feasibility of our approach by examining narratives. However the narratives generated can seem flat, how collaborative tags in online collections match these lacking engagement and direction. properties, and find that while tags match across the model the In our work we are exploring a thematic approach to solving some majority are higher level (matching broader themes and motifs of the problems with narrative generation.
    [Show full text]
  • JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
    06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev.
    [Show full text]